The magnificent campanile of the Seville Cathedral
When you look at the Giralda, it is hard to imagine that it is a product of two entirely different cultures. The lower half is part of the minaret built in the 13th century by the Almohads – a Moorish dynasty originated from North Africa. The upper half is a Renaissance-style bell tower built in the 16th century by the Christians, who took controls of Seville after the Reconquista. Despite the differences in architectural styles and religious traditions, the bell tower appears to be a seamlessly integrated harmonious structure, and is reflective of the multi-cultural aspects of Spain.
Giralda means ‘one that turns’ in Spanish. The decorative bronze sculpture placed at the top, which rotates with the wind and acts as a weather vane, is responsible for the name. It depicts a young woman holding a cross, symbolizing the victory of Faith.
Islamic Section – Highly ornate Moorish minaret
Giralda exterior
The minaret part of the tower appears to use two types of construction: Ashlar stone in the base and brick exterior in the rest. Richly decorated arched windows and balconies adorn the brick exterior on all four sides of the tower. They allow light and air into the interior.
Mounted on top of the original minaret was a hemispherical dome, and placed above it was a stack of three bronze spheres of decreasing size, crowning it with a crescent moon. The dome and spheres remained in place until an earthquake destroyed them in 1365.
Each side of the tower measures 45 ft at the street level. The foundation below the street level is a bit wider and is about 20 ft deep. Most of the stones used on the foundation and the base came from the existing Roman structures, including a wall nearby. The minaret segment of the tower is about 165 ft high.
The interior of the minaret consists of chambers at the center and ramps around them built with enough space to allow people and horseback riders to climb the tower. There are a total of 35 ramp segments, starting at the entrance and ending near the Christian part of the Giralda. The image below shows a segment (i.e., number 23) with the original flooring. As you can see, the ramp is big enough for people to walk comfortably, and the path is lit by the light that passes through the window situated on the right side.
A segment of the ramp
Christian Section – Bell tower with Victory of Faith at the top
Giralda upper part
In the 16th century, Seville was flourishing, thanks to the trade with the New World conquered by the Conquistadors. With an enormous wealth in hand, the cathedral chapter entrusted the work of building a magnificent bell tower for the Seville Cathedral to Hernan Ruiz II in 1558. He was an ingenious architect who had already built other structures in the Seville cathedral. It took him ten years to complete the addition to the bell tower.
Overlaid on top of the original minaret are the four stories built with the Renaissance style architecture. The transition to the new addition is smooth, and onlookers hardly notice the difference. The size (includes width and height) of the stories decreases with height. The bottom two floors are square-shaped, and the top two are circular.
The first story sits perfectly on top of the minaret and appears as though it is a continuation of it. Built with bricks, stones, and ceramics, it serves as a bell-chamber housing 24 bells, eight on each side. The exterior is highly ornate with columns, round windows, and an arch in the middle of each side. The bells hang between the pillars. Mounted above the corners are the bronze flower vases with lilies.
Interior of the belfryGiralda Bells
The second story has two levels. In 1765, a Franciscan Friar named José Cordero installed a beautiful bell in the upper level of this story, and it became the 25th bell of Giralda. The third story is circular, and the fourth looks like a jar and is named “La Tinaja” (The Jar).
El Giradillo
Sitting above the fourth floor is a dome that acts as a pedestal for a magnificent bronze sculpture of a young woman holding a cross, symbolizing the victory of Faith. This sculpture is known as El Giradillo because it rotates with the wind and acts like a weather vane.
The woman in the statue is holding the cross with the right hand and the foliage with the left. The semi-oval plate attached to the lower part of the cross helps to point El Giradillo in the direction of the wind. As mentioned before, this rotating behavior is responsible for Giralda’s name, which means ‘one that turns’ in Spanish.
El Giradillo is about 13 ft high and rests on a pedestal that is 10 ft high. It was cast in bronze by Bartolomé Morel in 1568 using a model most likely built by Juan Bautista Vázquez el Viejo, who was also responsible for the reliefs on the Chapter house dome. The model for the cast was based on a painting by Luis de Vargas. A duplicate of El Giradillo is in front of the Puerta del Principe.
Panoramic views
If you take the Seville Cathedral tour, it culminates with the climbing of the Giralda, first walking on the ramps of the minaret and then taking the flight of steps to the belfry, the last stop. As you climb the minaret part, you can stop at the balconies to view the surroundings. Once you reach the belfry, you can go around all the four sides and get a 360 view of the historic city of Seville. One of the spectacular views you see is of the Seville Cathedral itself.
Patio de los Naranjos – Courtyard of the Orange Trees
The image shows an aerial view of the Patio de los Naranjos, a garden of orange trees, enclosed by the structures belonging to the Seville Cathedral complex, which are, the northern facade of the Seville Cathedral on the left, Iglesia del Sagrario in the middle, and a gallery on the right.
The small tower in the middle of the right side (i.e., north) gallery belongs to the Puerta del Perdón (Door of Forgiveness), a gate through which visitors enter the Patio de los Naranjos from the Calle Alemanes. The gallery on the east side (not visible) houses La Bibliotheca Colombina, a library that holds the private book collection of Fernando Colón, the second son of Christopher Columbus. Both Fernando Colón and Christopher Columbus were interred in the Seville Cathedral.
The Patio de los Naranjos used to be the courtyard of the Almohad mosque once stood in this space. The only thing that remains of the courtyard from that era is the fountain where the worshipers performed ritual ablutions, i.e., washing of feet and hands before entering the mosque.
The Patio de los Naranjos is now used by the visitors to gather and relax before and after the tour of the Seville Cathedral.
A panoramic view from the belfry of the Giralda
The image shows the eastern end of the Seville Cathedral. The dome with the roof lantern is above the Capilla Real. Below the cathedral is the La Plaza de la Virgen de Los Reyes, and behind it is the Real Alcázar and the adjoining gardens. The Guadalquivir River is in the far end of the image.
A magnificent building that houses valuable art treasures
Attached to the south side of the Seville Cathedral, the Sacristía Mayor (Main Sacristy) is a Greek cross-shaped building crowned by a circular dome at the crossing. Surmounting the dome is a beautiful roof lantern built to provide daylight to the hall below. The work on this building was started by the architect Diego de Riaño, and after he died in 1534, Martín de Gainza continued the work and completed it in 1543.
The Sacristía Mayor, just like the Sala Capitular, is a Renaissance-style addition to the Gothic-style Seville Cathedral. Both were built in the 16th century and attached to the southern part of the cathedral, separated by an anteroom called Antecabildo. Unlike the Sala Capitular, which was built with an unconventional elliptical design, the Sacristía Mayor was traditionally designed and was built with a grand circular dome and roof lantern, a trend at that time in Renaissance-style architecture. Also, they were built for different purposes. The Sala Capitular was the meeting room of the cathedral’s chapter, whereas the Sacristía Mayor was a repository for the liturgical items.
Preserved in the sacristy are the art treasures that provide a glimpse of the glorious era when religious art flourished in Seville. On display are finely crafted liturgical items, including monstrances, reliquaries, custodias, and crosses, mostly made of precious metals like gold and silver. Besides, adorning the walls of the sacristy are the masterpieces painted by famous painters, including Goya, Murillo, Campaña, and Zurbarán.
Dome
Dome of the Sacristía Mayor
The dome of the Sacristía Mayor is relatively large and stands out when viewed from outside. As you can see from the image, it is a beautiful structure surmounted by a roof lantern supported by the flying buttresses.
On the right side of the image is La Giralda, which is on the other side of the cathedral. Notice the small roof lantern in front of it. It belongs to the dome of the Sala Capitular. This goes to show that the Sacristía Mayor is bigger and taller than the Sala Capitular.
The image below shows the ceiling of the dome. As you can see, there are three concentric panels ornate with bas-reliefs depicting scenes related to the Last Judgement (the Second Coming of Christ). Click the image and view the full size for a view of the reliefs.
Reliefs depicting the Last Judgement carved on the ceiling of the dome
Here is a brief explanation of the reliefs:
Top layer: Depicts Jesus seated on a bow with his feet resting on a globe representing the earth. His right hand is up, and the left is down. He is holding a lily with his right hand, and there is a sword above his left shoulder. These two symbolize mercy and justice, respectively. Flanking Jesus on the left is the Virgin Mary, and on the right is St. John the Evangelist.
Middle layer: Depicts the saved ones, who with folded hands looking up to Jesus
Bottom layer: Depicts the damned ones who are being herded to hell by beast-like demons
Interior
A view from the entrance
The image shows a view of the interior of the Sacristía Mayor you see as you enter this room. In the middle is the Custodia de Arfe, a processional custodia made by Juan de Arfe y Villafañe, a master sculptor born into a prominent family of goldsmiths/silversmiths.
On the left is the silver statue of San Fernando attributed to Pedro Roldán, who made it in 1671. On the right is the statue of La Inmaculada Concepción (Immaculate Conception of Mary) made by Alonso Martínez of Seville in 1650.
Descent from the Cross by Pedro de Campaña in a side enclosure
Behind the Custodia de Arfe are the three richly decorated enclosures, each with a famous painting.
The image shows the enclosure at the opposite end of the entrance. As you can see, it has highly ornate arched doors and vaulted ceiling richly decorated with sculptural reliefs. In the center within an oval-shaped frame is the relief of Virgin Mary, and surrounding her are the twelve apostles.
The main attraction of this enclosure, however, is the brilliant oil painting, Descent from the Cross, mounted on the back wall.
Art treasures
When you are in the Sacristía Mayor, it feels as though you in an art museum because its space is filled with valuable art treasure. On display at the sacristy are the finely-crafted liturgical items and numerous paintings. The liturgical items include monstrances, reliquaries, custodias, and crosses, mostly made of precious metals like gold and silver. Here are some of the art treasures:
Custodia de Arfe
The magnificent silver sculpture, known as the Custodia de Arfe (Arfe’s Custodia), bears the name of its builder, Juan de Arfe y Villafañe, a master sculptor born into a prominent family of goldsmiths/silversmiths.
Custodia de Arfe – Front View
With a height of over 12 ft and weight of over 1000 pounds, the Custodia de Arfe, which was made between 1580 and 1587, is massive and was intended for the processional use.
As you can see, the tower-shaped custodia has four circular floors, and crowning the top floor is a sculpture representing Faith. Influenced by the Greco-Roman architecture, each floor of the custodia appears like a miniaturized Greek/Roman building.
The floors are similar in design, but their size, including the height and diameter, decreases proportionally as the tower rises from the bottom to the top. In the center of the floor is the cella, and surrounding it are two concentric rings, each made of 12 Greek-style columns.The outer ring columns are on the edge of the floor. The proportionality applies to the size of the columns and the sculptures.
The custodia rests on a circular base made later by a different silversmith. Mounted on this base are 12 cups, each of which aligns with a column.
Floor – 1 (Bottom floor) : The circular part of each column rests on a square base. Engraved on this column are the grapevines that criss-cross to the top from their roots at the bottom. Figures of angels and birds eating grapes are in between the vines. Carved on the three sides of the square base are bas-reliefs depicting scenes from Old and New Testaments. Standing in the center of the cella is a beautifully carved silver sculpture depicting the Immaculate Conception made by Juan de Segura in 1668. It replaced the figure of Faith that was part of the custodia when Jaun de Arfe built it. Flanking the Immaculate Conception are the statues of Peter and Paul.
Floor – 2: The columns of this floor are of the Corinthian order. Placed in the cella is the holder that hosts the Blessed Sacrament during the procession.
Floor – 3: The columns of this floor are of the Ionic order. The cella holds the statue of the Mystic Lamb opening the Book with Seven Seals, an apocalyptic scene envisioned by John of Patmos and narrated by him in the Book of Revelation.
Floor – 4: The columns of this floor are of the Corinthian order. The cella houses the sculpture depicting the Holy Trinity, i.e., the Father, the Son, and the Holy Spirit.
Custodia de Arfe
The image shows the location of the Custodia de Arfe. As you can see, it is in the middle of the sacristy and behind it are two famous paintings mounted on the wall.
Right: The Vision of San Fransciso – A masterpiece by Juan Sánchez Cotán (1560 – 1627), a Baroque painter and a pioneer of realism in Spain.
Left: Virgin of Mercy – A great work attributed to Juan de Roelas (17th century).
Descent from the Cross – A masterpiece by Pedro de Campaña
Descent from the Cross by Pedro de Campaña
The image shows an oil painting, Descent from the Cross, mounted on the back wall of the enclosure behind Custodia de Arfe. This masterpiece was painted in 1547 by Pedro de Campaña (1503 – 1580), a noted Flemish painter born in Brussels and trained in Italy. He painted numerous religious masterpieces, some of which are on display in the Seville Cathedral and various churches in Spain. Descent from the Cross is believed to be his best work.
As you can see from the painting, the motionless body of Christ is being lowered with reverence by three men in red robes. According to the accounts in the Gospels, the men on the ladders are Joseph of Arimathea and Nicodemus, and the man holding Jesus’ legs is St. John the Evangelist. Waiting at the bottom are four grief-stricken women that include Mary, the mother of Jesus, and Mary Magdalene.
Immaculate Conception of the Virgin Mary
La Inmaculada Concepción (Immaculate Conception)
Sculpted by Alonso Martínez of Seville in 1650, this beautiful silver work represents the Immaculate Conception of the Virgin Mary. The doctrine of the Immaculate Conception states that Mary, the mother of Jesus, was born without the stain of the original sin.
Seville was famous for its mastery in silversmithing, and the sculpture representing the Immaculate Conception is a fine example of that mastery. As you can see, it is a stunningly beautiful work with great attention paid to details.
Clad in a beautiful cloak, the Virgin Mary is standing on a crescent moon up and is among angels. With her hands folded, she is looking downwards with grace. The crescent moon conveys important symbolism, i.e., conquering sin. Adorning her head is a finely crafted crown, and surrounding it is a halo with rays.
The Immaculate Conception is a popular theme in the art presented in the Seville Cathedral. For example, La Inmaculada Concepción is a masterpiece painted on the dome of the Chapter House by the noted Spanish painter Bartolomé Esteban Murillo.
Bust-reliquary of Santa Rosalía
Bust-reliquary of Santa Rosalía
This impressive work of art in silver was made by Lorenzo Castelli, an Italian silversmith, in 1688. Santa Rosalía (St. Rosalia) is a saint invoked by the Catholics during a pandemic. As the COVID-19 pandemic is devastating our planet, St. Rosalia is becoming popular internationally because of the belief that she can us from the pandemic.
Here is the story of St. Rosalia:
Born in 1130 into a wealthy family in Palermo, Italy, St. Rosalia led a strange life. Early in her youth, she left home and lived like a hermit in a cave nearby. She is believed to have written these words on the walls of the cave;
I, Rosalia, daughter of Sinibald, Lord of Roses and Quisquina, have taken the resolution to live in this cave for the love of my Lord, Jesus Christ.
She spent her entire life there and died in 1166, unbeknown to the rest of the world. Her body remained in the cave until a hunter discovered them in 1624. As the story goes, she appeared to that hunter and asked him to recover her remains from the cave and bring them to the city in a procession. At that time, Palermo was beset by a Plague pandemic, which disappeared after her remains were carried in procession three times through the city. In gratitude, the people of Palermo declared her the patron saint of Palermo.
When Jaime de Palafox y Cardona, the bishop of Palermo, became the archbishop of Seville, he decided to promote St. Rosalia in Seville and donated the bust-reliquary St. Rosalia to the Seville Cathedral.
A magnificent building unique in design and rich in decoration
No visit to the Seville Cathedral is complete without seeing to the incredibly beautiful Sala Capitular (Chapter House), an ellipse-shaped hall attached to the southeast corner of the building. It is a highly ornate hall crowned by a magnificent dome that is elliptical in shape – a novel idea at the time of its inception and considered a great engineering feat. Surmounting the dome is a beautiful roof lantern, also ellipse-shaped, built to provide daylight to the hall below.
Added more than 50 years after the completion of the Gothic-style Seville Cathedral, the Sala Capitular is a Renaissance-style building, and despite the difference in architectural styles, it blends harmoniously with the main building. The architects responsible for this perfectly-designed building were Hernán Ruiz II, who started in 1561, and Alonso de Maeda, who completed in 1592. It was the first building with the elliptical dome in Spain. The elliptical design of the hall lends itself to better acoustics and visibility.
Exquisitely designed interior
The Sala Capitular used to serve as the meeting room of the cathedral’s chapter, a college of clergymen set up to advise the archbishop to run its religious and administrative affairs. The chapter members, referred to as canons, would sit on the benches placed along the wall during the meetings, typically chaired by the archbishop. Because of the oval design, they would have had perfect visibility of the hall and clear acoustics.
Interior with the Archbishop’s Chair on display
The image shows a section of the oval-shaped wall with its upper part covered by beautifully engraved friezes. Even the floor of this hall is exquisitely designed. As you can see, it is a marble floor covered with tantalizing patterns, the design of which was inspired by the Piazza del Campidoglio, a beautiful square in Rome designed by Michelangelo.
On display at this hall is an ornate chair, known as Archbishop’s Chair, built by Diego de Velasco in 1592. This elegantly designed mahogany chair was used by the archbishop during the meetings of the cathedral chapter.
Spectacular elliptical dome
Dome of the Chapter House
The richly decorated elliptical dome presents a stunning sight to the visitors. The paneled ceiling of the dome is ornate with an ensemble of paintings, reliefs, stain glass windows, and artwork. Francisco Pacheco, a canon of the chapter, designed the decoration of the vaulted ceiling.
As you can see from the image, in the center is the interior of the elliptical lantern roof decorated with artwork. Covering the dome ceiling below the lantern are a number of ellipse-shaped concentric panels. The radial segments that flow from the top intersect these panels and divide them into trapezoidal-shaped curved blocks, which are smaller at the top and bigger at the bottom. Each of these blocks contain decoration ranging from simple artwork to intricately-carved bas-reliefs.
The blocks in the top two panels contain flowery artwork and geometrical patterns, and the blocks in the panel below, i.e., third from the top, consist of paintings and circular stained glass windows. Carved on the fourth panel from the top are the narrative bas-reliefs inspired by the episodes described in the New Testament.
The images below show different parts of the dome ceiling.
South section of the domeWest section of the domeNorth section of the domeEast section of the domeDecoration of the dome ceiling
Paintings and Stained glass windows
The third panel from the top is the most remarkable one consisting of a famous painting and eight portraits painted by Murillo. Sandwiched between the portraits are the circular stained glass windows brightly lit by the outside light.
Immaculate Conception – A masterpiece by Bartolomé Esteban Murillo
Immaculate Conception – A masterpiece by Bartolomé Esteban Murillo
In the center of the third panel is the La Inmaculada Concepción (Immaculata or Immaculate Consumption), a masterpiece by Bartolomé Esteban Murillo, a Baroque-style painter from Spain known for religious masterpieces.
This painting is one of the twenty-four Murillo painted in his lifetime on the theme of Immaculate Conception. In this painting, he presents the Virgin Mary up in heaven with a bright light behind her. Clad in a white robe and blue cloak, she is standing on a crescent moon and is among the angels. With her hands folded, she is looking downwards with grace.
The crescent moon conveys important symbolism, i.e., conquering sin. Note that the Immaculate Conception is a doctrine of the Roman Catholic Church that states that the Virgin Mary is born without the stain of original sin.
A highly decorative frame with beautiful artwork encloses La Inmaculada. Above the frame is an inscription in Latin describing the painting.
Portraits of the Spanish and Sevillian Saints
Besides La Inmaculada, Murillo painted eight circular portraits of saints that adorn the rest of the third panel. Surrounding each painting is a decorative frame with the name of the saint inscribed in Latin at the top.
The saints in the portraits have connections to Seville, either born or martyred in Seville. Here is the list of eight saints in the counter clock-wise direction starting from La Inmaculada:
Name
Description
1. San Fernando
St. Ferdinand (1199-1252). Patron saint of Seville. He was King Ferdinand III of Castile.
2. San Leandro
St. Leander (534 -600). Bishop of Seville
3. San Laureano
St. Laurian(? – 546). Bishop of Seville from 522 to 539
4. Santa Rufina
St. Rufina (270 – 287). Martyred in Seville
5. Santa Justa
St. Justa (268 – 287). Martyred in Seville
6. San Pio
?
7. San Isidoro
St. Isidore (560 – 636). Bishop of Seville (600 – 636)
8. San Hermenegildo
St. Hermenegild (? – 585). Martyred in Seville.
List of Saints in the third panel
Santa Justa and Santa Rufina
Portraits of Santa Justa and Santa Rufina painted by Murillo
Saints Justa and Rufina were sisters who lived and martyred in Seville in the 3rd century. They are considered the protectors of La Giralda and the Seville Cathedral.
In the center is a circular stained glass window flanked by two circular paintings depicting St. Justa on the right and St. Rufina on the left. A trapezoidal frame encloses each painting with the name of the saint inscribed at the top in Latin.
Inspirational Bas-Reliefs
Carved on the fourth panel (from the top) of the vaulted ceiling of the dome are the narrative bas-reliefs. There are sixteen of them – eight in the vertical (portrait) format and the other eight in the horizontal (landscape) format. The vertical format bas-reliefs were made by Juan Bautista Vázquez el Viejo (nicknamed “the Elder”) and Diego de Velasco around 1582 – 1584. The horizontal format bas-reliefs were made by Marcos Cabrera in 1590.
The carvings of bas-reliefs alternate between the horizontal and vertical formats, which are separated by the Ionic order pilasters. A border that looks like the arched door encloses the vertical bas-reliefs.
Inspirational bas-reliefs on the ceiling of the dome
The section of ceiling shown in the image is located just below La Inmaculada. As you can see, there are three beautifully carved bas-reliefs. The vertical format bas-relief in the middle depicts the Assumption of the Virgin Mary, and the horizontal format reliefs to its left and right depict Jesus with his 12 Apostles. In the left bas-relief, Jesus washing their feet and in the right bas-relief, Jesus standing on a pedestal and preaching them.
The horizontal bas-reliefs are smaller and covering the space above and below them are the inscriptions in Latin. The vertical bas-reliefs cover the entire panel and its inscriptions are in the panel below.
The Vision of St. Peter – Angels lowering a large sheet carrying animals
Angels lowering a large sheet carrying animals – The vision of St. Peter narrated in the Acts of the Apostles
This bas-relief depicts the Vision of St. Peter, a scene narrated in the Acts of the Apostles.
Here is a summary of the scene from Acts 10: 9-14: Peter was traveling to the city along with other Apostles. As others were preparing the meal, Peter went up to a terrace to pray. There, he became hungry and wanted to eat, then fell into a trance. In his vision, Peter saw heaven opened up, and a large sheet, held by its four corners and carrying four-legged animals reptiles, and birds, was being lowered to the ground. A voice asked him to kill the animals and eat. Peter refused because he had never eaten any unclean animals before.
The image shows two angels lowering a large sheet carrying animals, while St. Peter, presumably in a trance, is lying down with his left hand holding his face.
Apocalyptic visions of John of Patmos
While the horizontal bas-reliefs depict the life of Jesus as described in the Gospels, six of the vertical bas-reliefs depict the apocalyptic visions of John of Patmos described by him in the Book of Revelation, the last book in the New Testament written in a symbolic form about the apocalypse and prophecy. A vast majority of Christians believe that John of Patmos is the same person as St. John the Apostle and St. John the Evangelist, the author of the Gospel according to John. However, many modern scholars have disputed this belief.
John of Patmos wrote the Book of Revelation while in exile on the Greek island of Patmos. He was banished to Patmos by the Roman authorities during the reign of Emperor Domitian (81-96 CE) because of his evangelization activities in Ephesus, where he preached Gospel in the Great Theater. After the death of Domitian, John was released from exile and reported to have returned to Ephesus. He is believed to have died there at the ripe age of 92.
Here are some of the bas-reliefs inspired by the apocalyptic visions of John of Patmos:
Mystic Lamb opening the book with the seven seals
Located above the entrance, this bas-relief captures John’s vision that marks the beginning of the apocalypse. Here are the verses that inspired the bas-relief:
Revelation 6: 1-2 – The Lamb opening the book/scroll with seven seals
1. And I saw when the Lamb opened one of the seals, and I heard, as it were the noise of thunder, one of the four beasts saying, Come and see.
2. And I saw, and behold a white horse: and he that sat on him had a bow; and a crown was given unto him: and he went forth conquering, and to conquer.
Mystic Lamb opening the book with seven seals – An apocalyptic vision of John of Patmos
In this vision, John sees God holding a scroll with his right hand. Locked by seven seals, this scroll contains the judgment of God on sin and evil. Then an angel appears and asks the question – who is worthy of opening the seals. One of the 24 elders replies – only the Lion of Judah (implies Jesus) is worthy of opening it. Then a mysterious Lamb, a symbolic representation of Jesus, appears and opens the seal one by one. Every time the Lamb opens a seal, it triggers an apocalyptic event.
As you can see from the bas-relief, God is holding a book with his right hand, and the Mystic Lamb is opening the seal. Surrounding God and the Mystic Lamb are the angels and elders.
Angels with trumpets
This bas-relief captures the symbolism behind the apocalyptic nature of John’s visions. Here are the verses that inspired the bas-relief:
Revelation 8: 1-6 – Angels with Trumpets
1. When he broke open the seventh seal, there was silence in heaven for about half an hour.
2. And I saw the seven angels which stood before God; and to them were given seven trumpets.
3. Another angel, who had a golden censer, came and stood at the altar. He was given much incense to offer, with the prayers of all God's people, on the golden altar in front of the throne.
4. The smoke of the incense, together with the prayers of God's people, went up before God from the angel's hand.
5. Then the angel took the censer, filled it with fire from the altar, and hurled it on the earth; and there came peals of thunder, rumblings, flashes of lightning and an earthquake.
6. Then the seven angels who had the seven trumpets prepared to sound them.
Angels with Trumpets – An apocalyptic vision of John of Patmos
John sees this vision when the Mystic Lamb opens the seventh seal. In this vision, there is a silence for half an hour, and then seven angels are given trumpets. An angel with a golden censer comes and stands in front of the altar in front of the throne. He fills the censer with incense, and smoke rises from the burning incense as people start praying. The angel fills the censer with fire and throws it on to the earth. Then the angels with trumpets started sounding the trumpet one by one, each time triggering catastrophic events.
As you can see from the image, God is at the center holding the globe surrounded by angels, most carrying the trumpets and one at the bottom holding the censer (a container for burning incense) with his left hand and fire with his right hand.
Mighty angel with legs like pillars of fire
This is one of the most beautiful and expressive bas-reliefs in the Sala Capitular. It captures the essence of a mysterious verse in the Book of Revelation. Here are the verses that inspired the bas-relief:
Revelation 10: 1-8 – The Angel and the Little Scroll
1. Then I saw another mighty angel coming down from heaven, wrapped in a cloud, with a rainbow over his head. His face was like the sun, his legs were like pillars of fire.
2. He was holding a little scroll, which lay open in his hand. He planted his right foot on the sea and his left foot on the land
3. And he gave a loud shout like the roar of a lion. When he shouted, the voices of the seven thunders spoke.
4. And when the seven thunders spoke, I was about to write, but I heard a voice from heaven say, 'Seal up what the seven thunders have said and do not write it down'
5.Then the angel I had seen standing on the sea and on the land raised his right hand to heaven.
6. And he swore by him who lives for ever and ever, who created the heavens and all that is in them, the earth and all that is in it, and the sea and all that is in it, and said, 'There will be no more delay'
7. But in the days when the seventh angel is about to sound his trumpet, the mystery of God will be accomplished, just as he announced to his servants the prophets.'
8. Then the voice that I had heard from heaven spoke to me once more: 'Go, take the scroll that lies open in the hand of the angel who is standing on the sea and on the land
Mighty angel with legs like pillars of fire – An apocalyptic vision of John of Patmos
The bas-relief perfectly captures the essence of the verses 1 to 8 from chapter 10 of the Book of Revelation. It depicts the mighty angel with legs like pillars of fire wrapped in a cloud. As you can see, his left foot is on the land, the right foot is on the sea, and the right hand raised (to heaven). He is holding an open book (little scroll) with his left hand and John appears to receive that book. Unlike many of his other visions, John himself is a participant in this vision. Many Bible experts believe that the mighty angel is Christ.
Hagamos una iglesia tan hermosa y tan grandiosa que los que la vieren labrada nos tengan por locos. (Let us build a church so beautiful and so magnificent that those who see it finished will think we were mad).
So said the church elders before embarking upon the monumental effort of building this cathedral at Seville. Visiting this church is a fascinating experience. When you enter this immense and stunningly beautiful edifice, you will realize that the church elders indeed kept their promise.
While not as imposing as some of the famous religious monuments (such as Angkor Wat and Borobudur ) when viewed from outside, the sprawling interior of the cathedral presents an awe-inspiring sight with its immensity, grandeur, and beauty. The towering and massive columns elegantly arch over to the ceiling to support the ribbed vaults. Exquisitely designed geometrical patterns cover part of its roof, and numerous multicolored stained-glass windows cover the walls in different part of the cathedral.
An ensemble of art treasures preserved in the cathedral provides a glimpse of the opulence of the bygone era in which Seville enriched itself from the expeditions to the New World. These treasures include masterpieces from well-known painters and golden and plateresque-style liturgical items.
Officially known as La Catedral de Santa María de la Sede de Sevilla (Cathedral of St. Mary of the See of Seville), the Seville Cathedral is the largest Gothic cathedral and the third-largest church in the world. St. Mary of the See – one of the numerous titles of Mary, the mother of Jesus – is the patron saint of this cathedral. Note that the term See refers to the region typically covered under a Roman Catholic bishop, which, in this case, is Seville. Designated in 1987 by UNESCO as a World Heritage Site – along with the adjoining Alcázar Palace complex and the General Archive of the Indies – the Seville Cathedral is indeed one of the architectural marvels of the world.
A quick journey through the history
Seville was under the rule of the Almohads – a Moorish dynasty from North Africa – until the Reconquista headed by the Christian King Ferdinand III of Castile and León captured it in 1248. The Christians converted the grand mosque built in 1198 by Almohads into a cathedral by making minor changes, such as changing the orientation and covering the walls with Christian paintings. However, as Seville, a major trading hub in those days, became prosperous after the looted riches, including a massive amount of gold, from the New World passed through it, the city decided to build a Christian cathedral by demolishing the existing mosque.
The Seville Cathedral we see today was built exactly on the site where the Almohad mosque once stood, although only a few vestiges of the original mosque remain. By any stretch of imagination, building a monument of this magnitude is a massive undertaking, so it took more than 100 years to build. The construction began in 1401 and completed in 1506. The names of the architects and builders of this masterpiece are long forgotten, but their lasting legacy remains.
Gothic architecture at its finest
Considered an architectural masterpiece, the Seville Cathedral has a spectacular interior and a magnificent exterior. Although the architecture style of is Gothic, it has its own unique characteristics. Because of the cathedral was built on the foundation of the Almohad mosque, the design of the cathedral was constrained, especially the ground plan. However, the architect(s) did an ingenious job by utilizing the existing space to build a tall and sprawling structure.
Just like any church, the Seville Cathedral is cross-shaped, i.e., long main body with an attachment of two shorter wings, which are known as transepts, on either side built at right angles to the main body. The main body of the cathedral has columns placed in a grid-like fashion to create five longitudinal naves and nine transversal sections. In other words, the interior of the church is a 9 x 5 virtual grid created by the columns placed at the corners of the grid blocks. The central nave, which rises to 138 ft, is the tallest. The height of the columns tapers down as you go towards the sides.
A view of the Seville Cathedral from the Giralda
Captured from the belfry of the Giralda, the outer view of the Seville Cathedral shown above reveals its Gothic characteristics that include its tall structures, flying buttresses, and stained glass windows. As you can see, the flying buttresses, which run in the longitudinal as well as the transversal directions, intersect, resulting in grid-like formations. Rising above these intersecting joints are the beautifully carved tower-like structures. Besides being aesthetically pleasing, the flying buttresses help distribute the structural load laterally, which allowed the architects to design very tall structures.
Interestingly, the Seville Cathedral – unlike many famous cathedrals- does not have any tall tower (s) built above its main body. However, as you can see, there is a short squarish structure that is above the crossing, i.e., at the intersection of the central nave and transepts.
Although the Seville Cathedral is known as a Gothic cathedral, it is a harmonious blend of many architectural styles, including Renaissance architecture. The Renaissance-style additions include the side chapels – some of which are as big as an ordinary church – built on either side of the cathedral. The other Renaissance-style additions are the two prominent buildings attached to the south side of the building, Sala Capitular (Chapter House) and Sacristia Mayor (Main Sacristy), separated by an anteroom, Antecabildo.
Spectacular interior
The interior of the Seville Cathedral is stunning and breathtaking. When you enter the cathedral, it overwhelms you with its vastness, grandeur, and lavishness of decoration. The tall and massive columns, colorful stained glass windows, mesmerizing patterns on the ceiling present an awe-inspiring sight to the onlookers. Despite its grand scale, the interior of the Seville Cathedral gives an impression of harmonious architecture with its open spaces and the proportionality of the architectural elements.
Central part of the Seville Cathedral
Just like any church, occupying the central part of the cathedral are its core components, i.e., the main altar, choir, and retro choir. Known as the crossing, the block where the transepts intersect the central nave is the center of the cathedral. As you can see from the image, it is the block with pews where people gather to view the Coro (Choir) on the left, the Capilla Mayor (Main Chapel), which contains the main altar, on the right. Inside the main chapel is a beautifully carved wooden altarpiece coated with a copious amount of gold believed to be the largest in the world. Behind the crossing is the plateresque-style altar, known as the Silver Altar, which occupies the north transept and lies in front of the inner wall of the Puerta de la Concepción (Door of the Conception), an ornate door through which visitors enter the cathedral.
Vaulted ceiling covered with mesmerizing patterns
Vaulted ceiling above main chapelMirror on the ground reflecting the ceilingPatterns on the ceiling
The images above show a part of the ceiling above the crossing. The image on the left is reflection of the ceiling by a mirror placed on floor near the Tomb of Columbus.
As you can see, covering the ceiling are the beautiful geometrical patterns that are symmetrical about both the principal axes. The symmetry and curved nature of these patterns make them aesthetically pleasing. The vaulted ceiling rests on tall and massive columns that are lined up along the naves. Just below this ceiling are the stained glass windows.
Retablo Mayor – The largest altarpiece in the world
Retablo Mayor – Altarpiece at the main chapel
The Retablo Mayor (Great Altarpiece) is an amazing altarpiece like no other. This massive and intricately-carved wooden structure covered with gold is 66 ft high and 60 ft wide and is part of the altar inside the Capilla Mayor (Main Chapel).
The construction of this altarpiece started in 1482 by Pieter Dancart, a sculptor from present-day Belgium, and continued by several skilled sculptors before the completion of the first phase in 1528.
As you can see from the image, the Retablo Mayor is a recessed structure held by tall pillars on either side. The front-facing portion is a grid of compartments, each housing a narrative relief carved in wood and coated with a copious amount of gold.
The structure above the base consists of seven columns and five rows of compartments. Not all the compartments are of equal size. The compartments are separated vertically by pilasters, which are ornate with carvings of historical figures from the Bible or Church. Each compartment contains a narrative sculptural reliefs mostly depicting the scenes from the life of Jesus Christ.
The side sections are perpendicular to the front portion and are attached to the pillars. These were part of the second phase of the altarpiece construction, which started in 1550 and completed in 1564.
At the top of the Retablo Mayor is a canopy with three rows of octagonal niches.
Canopy of the Altarpiece
The image shows the canopy above the massive Retablo Mayor of the Capilla Mayor (Main Chapel). As you can see, the canopy is ornate with geometrical patterns containing carvings of 30 identical recessed hexagons arranged in three rows.
Above the canopy, there is a row of 13 compartments, each containing a relief. The relief at the center of this row depicts Mary holding the body of Jesus on her lap, and flanking this relief are the reliefs of the 12 Apostles, six on each side.
Virgin of the See – The patron saint of the Seville Cathedral
Statue of Virgen de la Sede (Virgin of the See) in the main chapel
Just above the base of the altarpiece and at the center of the bottom row is a beautifully carved sculpture of Mary holding baby Jesus, known as the La Virgen de la Sede (Virgin of the See). Carved in wood and coated with silver, this sculpture was made in the 13th century. As mentioned before, La Virgen de la Sede is the patron saint of the Seville Cathedral and is also responsible for its official name, Catedral de Santa María de la Sede.
Coro and Trascoro
Interior of the Coro (Choir)
The Coro (Choir) is where the church choir congregates and sings during the mass in a church. In the Seville Cathedral, it is a box-like structure occupying a block in the central nave located a section west of the main chapel. It is closed on three sides and opened on the east side, i.e., the side facing the main chapel. Attached to the walls are rows of seats. The Trascoro is on the west-facing wall.
Trascoro
The area behind the Coro (Choir), known as the Trascoro (Retro choir), presents one of the beautiful sights in the Seville Cathedral. Built by Miguel de Zumárraga in the 17th century, this retro choir was constructed with precious materials like jasper, and is an excellent evidence of the opulence of that era.
The upper part of the image shows the magnificent ceiling above the Coro and Capilla Mayor, and the lower part shows the richly decorated the west-side wall of the Coro ornate with many pieces of art, including paintings, bas-reliefs, and bronze busts. At the center is a beautiful painting depicting the Virgen de los Remedios (Virgin of the Remedies), and flanking it are the two doors that open to the Coro. Above the doors are the bronze busts, and next to them are the bas-reliefs.
The Virgen de los Remedios is one of the numerous titles of the Virgin Mary and was popular with the Spanish conquistadors and Reconquista, and still being worshiped in Spain and parts of Latin America.
Silver Altar – A shining example of mastery of Sevillian silversmithing
Occupying the northern arm of the transept and situated behind the Puerta de la Concepción (Door of the Conception) is a magnificent altar, known as the Silver Altar, mostly made of silver by the famous silversmiths of Seville. It owes its name to the abundant use of silver in the altar.
Silver Altar situated in the north transept of the Seville Cathedral
In the center of the altar is the statue of the Virgin Mary with the Child Jesus flanked by the sculptures of San Isidoro and San Leandro. Behind it is the large and exquisitely-crafted silver monstrance shaped like the sun. Mounted on top of the monstrance is a beautifully designed silver crown.
A large canvas hangs behind the altar to prevent its exposure to the Puerta de la Concepción, where the visitors enter the cathedral. The silhouette of the altar on the canvas can be seen from outside.
The inner side of the Puerta de la Concepción wall is visible behind the altar. Mounted on this wall just above the silver altar is a beautiful painting depicting the Ascension of the Virgin Mary. Above this painting is a circular stained-glass window depicting the Ascension of Jesus made by Carlos de Brujas in 1588.
Giant San Cristóbal – A fresco by Mateo Pérez de Alesio
San Cristóbal Fresco
The fresco shown in the image depicts a giant San Cristóbal (St. Christopher) carrying a child, who happens to be Jesus in disguise, on his shoulder and crossing the river. It is on the wall next to the tomb of Columbus.
It is an impressive work by Mateo Pérez de Alesio, who painted it in 1583. He was an Italian painter born in Lecce, and as a student of Michelangelo, he worked with him in the Sistine Chapel.
Mausoleo de Cristóbal Colón – The final resting place of Christopher Columbus
Tomb of Christopher Columbus situated in the south transept
Situated in the south transept, the Mausoleo de Cristóbal Colón (Christopher Columbus Mausoleum or Tomb of Christopher Columbus) is one of the popular attractions in the Seville Cathedral. As you can see from the image, the Sarcophagus of Columbus is raised above the ground by four bearers, who symbolically represent the four kingdoms, Castile, Aragon, Navara, and Leon, of erstwhile Spain. Queen Isabella I (along with her husband Ferdinand), who funded Columbus’s famous 1492 journey to the New World, united them into one nation, i.e., modern Spain.
Sarcophagus of Columbus – Bottom View
The rectangular bottom of the sarcophagus is a bronze plate inscribed with the coat-of-arms of Spain surrounded by an inscription in Spanish, which reads: Aqui jacen los restos de Cristobal Colon desde 1796 los guardo la Habana y este sepulcro por R.D.to de 26 de febrero de 1891 (Here lies the remains of Cristobal Colon kept in Havana since 1796 and this sepulcher by R.D.to of February 26, 1891)
Christopher Columbus was a controversial figure, even in death. After he died in 1506, his body traveled to many countries before it found its final resting place in the Seville Cathedral. But not everyone believes that his tomb here contains his remains.
The saga of Columbus’ remains traveling to many countries is as intriguing as his life. He was first buried in Valladolid, Spain. Soon after, his brother Diego moved it to a monastery in Seville. In 1542, his body was moved to the Caribbean island of Hispaniola, a Spanish territory founded by Columbus. He was interred in the newly constructed Cathedral of Santa Maria la Menor in Santo Domingo, the capital of the present-day Dominican Republic.
As fate would have it, France took over the island of Hispaniola in 1795. Not wanting his remains to fall into the French hands, the Spanish moved them to Havana, Cuba, where they built a mausoleum to house his remains. This mausoleum remained there for about 100 years before the Spanish transported it to Seville, where he embarked upon his famous expeditions.
Installed in the south transept of Seville Cathedral in 1899, Columbus’s mausoleum has remained here ever since. But the controversy about his remains lingers on.
The DNA test carried out in 2006 verified that the remains from the tomb do indeed belong to Christopher Columbus. However, the Dominican Republic still claims that the remains of Columbus never left the country.
Tomb of Fernando Colón, the second son of Christopher Columbus
Tomb of Fernando Colón, the second son of Christopher Columbus
Just like his father, Fernando Colón (also known as Ferdinand Columbus, Fernando Colombo, Hernando Colon), the second son of Christopher Columbus was also buried in the Seville Cathedral. The image shows his tombstone etched on the floor of the central nave near the west entrance.
The inscription at the center reads: A CASTILA y a COLON MUNDO NUEVO DIO COLON – To Castile and to Leon, Columbus gave the new world.
Fernando Colón is known for the biography of his father titled The life of the Admiral Christopher Columbus by his son Ferdinand.
Upon is return from his voyage to the new world, he started to collect books and created a private library known as La Bibliotheca Colombina, which is now located on the north side gallery surrounding the Patio de Los Naranjos.
Elegant exterior
The Seville Cathedral has 15 doors/gates (puertas), including three major entrances, which are: 1. Main entrance facing west 2. North transept entrance 3. South transepts entrance. Only the north transept entrance is open for the visitors. The most of the doors are later additions and add to the elegance of this majestic cathedral.
Patio de los Naranjos – The Courtyard of Orange Trees
Patio de los Naranjos – Courtyard of Orange Trees
The image shows an aerial view of the Patio de los Naranjos, a garden of orange trees, enclosed by the structures belonging to the Seville Cathedral complex, which are, the northern facade of the Seville Cathedral on the left, Iglesia del Sagrario in the middle, and a gallery on the right.
The small tower in the middle of the right side (i.e., north side) gallery belongs to the Puerta del Perdón (Door of Forgiveness), a gate through which visitors enter the Patio de los Naranjos from the Calle Alemanes. See below the front and rear facades of the Puerta del Perdón.
The gallery on the east side (not visible) houses La Bibliotheca Colombina, a library that holds the private book collection of Fernando Colón.
Moorish fountain used for ritual purification
The Patio de los Naranjos used to be the courtyard of the Almohad mosque once stood in this space. The only thing that remains of the courtyard from that era is the fountain where the worshipers performed ritual ablutions, i.e., washing of feet and hands before entering the mosque.
The Patio de los Naranjos is now used by the visitors to gather and relax under the shade of the orange trees before and after the tour of the Seville Cathedral.
Puerta del Perdón – The Door of Forgiveness
The Puerta del Perdón – which used to be the main entrance to the Almohad mosque in Moorish times – acts as the visitor’s entrance to the Seville Cathedral complex. It got its name because the faithful believed that sinners entered the cathedral through this door to seek forgiveness.
Front facade of the Puerta del PerdónRear facade of the Puerta del PerdónPuerta del Perdón – Main visitor entrance
As you can see from the image on the left, the facade of the Puerta del Perdón is a fusion of Christian and Islamic art. The horseshoe-shaped arch is from the Almohad era. However, the surrounding plaster work – although it looks like Islamic art – is not. In fact, it is the work of Bartolomé López, a Spanish sculptor who made it in 1522. As you can see, the artwork consists of beautiful flowery designs and the coat of arms of the Kingdom of Castile and León (Castle with three towers and crowned lion) on either side of the arch.
Flanking the arch are four beautiful clay statues made by Miguel Florentin. The statues of Archangel Gabriel and St.Peter are on the left side, and the Virgin Mary and St. Paul are on the right side. Above the arch is a narrative bas-relief depicting Jesus expelling merchants from the temple, an episode described in the New Testament.
The image on the right shows the rear facade of the Puerta del Perdón that faces the Patio de los Naranjos.
Puerta de la Concepción – The Door of the Conception
Puerta de la Concepción (Door of the Conception) Tympanum of the Puerta de la Concepción Puerta de la Concepción (Door of the Conception) on the north facade
The Puerta de la Concepción (Door of the Conception) is an ornate door at the entrance to the north transept of the Seville Cathedral.
This richly decorated neo-Gothic style door is the brainchild of the architect Joaquín Fernández Casanova, who also built the Puerta del Príncipe, a similar door at the entrance to the south transept. Built between 1895 and 1917, it is the most recent door of the cathedral.
The theme of the relief on the tympanum of this door is the Immaculate Conception of Mary. As you can see from the image, the Virgin Mary is in the middle, flanked by St. Michael and St. John the Evangelist.
Puerta del Príncipe – The Door of the Prince
Puerta del Príncipe (Prince’s Door)
Located on the south transept of the Seville Cathedral, the Puerta del Príncipe (also known as Puerta de San Cristóbal) is similar to the Puerta de la Concepción and was built by the same architect, Joaquín Fernández Casanova, who built it between 1887 and 1895.
The bronze sculpture of a young woman standing in front of the door symbolizes the victory of Faith and is a replica of El Giraldillo mounted atop the Giralda. Unlike El Giraldillo, it does not rotate and therefore does not serve as a weather vane.
Puerta de Palos – The Door of Sticks
Puerta de Palos (Door of Sticks)
Located next to the Giralda, it was built in the 16th century by Juan de Hoces and Pedro Sánchez of Toledo. This door is also known as the Puerta de la Adoración de los Magos (Door of the Adoration of the Magi) because of the relief in its tympanum depicts the three kings from the east, known as the Magi, presenting the Child Jesus with gifts of gold, frankincense, and myrrh. This beautifully carved relief was made in 1520 by Miguel Perrin, a French sculptor living in Seville.
Seated on the right is the Virgin Mary with the Baby Jesus on her lap receiving gifts from one of the Magi.
The lasting legacy
Visited by millions every year, the Seville Cathedral is an iconic landmark of Seville. It is unique, immense, and awe-inspiring, and even after 600 years, the building is robust as ever and will continue to be so for a long time to come. The people who built this incredible monument are long gone, but their remarkable legacy remains.
Kappe Chennigaraya is a smaller temple situated in the south side of the Belur Chennakeshava Temple complex in Karnataka, India. Commissioned by Shantala Devi, the pattada rani (principal queen consort) of King Vishnuvardana, the builder of the main Chennakeshava Temple, the construction of the Kappe Chennigaraya Temple began at the same time as the main temple, i.e., in 1117 CE. She took great interest in this temple and even oversaw its construction.
There is an interesting legend regarding how Kappe, which means frog in Kannada, became a part of this temple’s name. It involves Jakanachari, the legendary architect and sculptor of the Hoysala era. Here is a summary of this legend.
Legend of Jakanachari
Jakanachari was a master sculptor and a genius. He hailed from a village called Kridapura (became Kaidala because of him) in the present-day Tumkur district in Karnataka. Because of marital discord, he left his wife Manjari, and moved to the capital of the Hoysala Empire and worked as a master sculptor for King Vishnuvardana.
Unbeknown to Jakanachari, his son Dakanachari, who was also a talented sculptor, came to Belur and started working for him. As Jakanachari was carving the statue of Chennakeshava for the Chennigaraya Temple, his son discovered a flaw, i.e., a frog was inside the belly of the sculpture. When confronted by his son about this flaw, Jakanachari felt humiliated and challenged him to prove it, and if he was proved right, he would cut off his right hand.
Dakanachari was proved right, and a frog jumped out when they drilled a hole in the sculpture. Jakanachari kept his word and cut off his right hand. He also came to know that Dakanachari was his son.
Legend has it that Vishnu restored his right-hand once he built a temple dedicated to Vishnu in his hometown, which became known as Kaidala. In Kannada, kai means hand. Both Jakanachari and Dakanachari collaborated to carve a new Chennakeshava idol, and it was consecrated by none other than the Pattada Rani Shantala Devi. However, Kappe remained a part of the name even after the defect-free idol was installed in the garbhagriha.
Architecture
While this temple is somewhat similar to the main Chennakeshava Temple architecture-wise, it differs in size and decoration. The Kappe Chennigaraya Temple is smaller and less ornate. It appears like a prototype of the main temple built for experimentation.
Another significant difference between them is the number of garbhagrihas (inner sanctums). Whereas the Chennakeshava Temple is an ekakuta temple (i.e., single garbhagriha temple), the Kappe Chennigaraya Temple is dwikuta, which means it has two garbhagrihas, one in the west and another in the south. Each garbhagriha has an entrance in front of it. The left image below shows the east facing entrance, which is in front of the west garbhagriha, and the right image shows the north facing entrance, which is in front of the south garbhagriha.
North facade of the Kappe Chennigaraya Temple East facade of the Kappe Chennigaraya Temple
Garbhagrihas
Just like the main temple, the Kappe Chennigaraya shrine is dedicated to Vishnu. A life-size statue of Chennakeshava stands in the west garbhagriha, and a life-size statue of Venugopala stands in the south. Note that both Chennakeshava and Venugopala are different forms of Vishnu.
Venugopala standing in the south garbhagriha
The image shows the garbhagriha on the south side of the the Kappe Chennigaraya Temple. As you can see, the garbhagriha is a squarish chamber with the life-size idol of Venugopala standing at the rear wall on a square yoni platform. Portrayed as a divine flute player, Venugopala is a form of Krishna. In Kannanda, Venu means flute, and Gopala means protector of cows.
In Hindu mythology, Krishna is the eighth avatar of Vishnu. Check the Dashavatara painting on the Hampi Virupaksha Temple Murals for a list and description of the ten avatars of Vishnu.
As you can see from the image, Venugopala is standing with a tribhanga (bent in three places, knee, waist, and neck) pose and playing the flute. There is a similar garbhagriha housing the Chennakeshava idol on the west side of the temple.
The image below shows a narrative sculptural relief depicting Narasimhavatara, the fourth avatar of Vishnu, carved into the lintel of the south garbhagriha door. In this avatar, Vishnu has a man’s torso with a lion’s face and claws. He adopted this form to kill an asura named Hiranyakashipu, who wanted to take revenge on Vishnu for killing his brother Hiranyaksha in his previous avatar, i.e., Varahavatara, the third avatar of Vishnu.
Ugra Narasimha carved into the lintel of the south garbhagriha door
The relief depicts Vishnu with the lion head and human torso having multiple hands with claws. With the body of Hiranyakashipu lying on his lap, Vishnu is seen ripping the entrails of Hiranyakashipu with his claws. On the bottom left is Garuda, Vishnu’s vehicle, kneeling with his hands-folded. Surrounding this relief is a creeper making several circular patterns, each of which contains a small carving.
Navaranga
Lathe-turned pillars
The navaranga is the covered hall in front of a garbhagriha. Navaranga, which means nine sectors, is an essential element of the Hoysala temple architecture. In the navaranga design, the rectangular area is a grid of nine sections created by placing the pillars at the corners of the central section. A stone roof above these pillars covers the entire space.
The central section of the navaranga, known as sabhamantapa, is typically the largest. In Kannada, sabha means gathering, and mantapa means hall/pavilion. Thus, a sabhamantapa is like a community hall where people congregate.
As you can see from the image, the pillar in the near end is ornate with beautifully carved patterns. Mounted around the pillar and just below its capital are four finely-carved sculptures, popularly known as bracket figures.
Dance Floor in the Kappe Chennigaraya Temple
Many pillars in the navaranga appear to be precisely-cut and polished using sophisticated machinery, such as modern-day lathes. Because of their appearance, these are often called lathe-turned pillars, although nobody is sure how they were built. Lathe-turned pillars are a common feature in many Hoysala temples, including the main Chennakeshava Temple, and basadis (Jain temples).
A beautifully crafted circular stone covers the floor of the sabhmantapa, and was used as a dance floor during the Hoysala period. As you can see from the above image, the dance floor is a perfectly round stone platform, which still maintains its original polish even after thousand years and is a testament to the ingenuity and superior craftsmanship of the Hoysala artisans. There are four pillars at the corners of the dance floor.
Lakshminarayana carved on a section of the ceiling
The image shows a section of the ceiling in the navaranga. As you can see, the ceiling is recessed with a square-shaped niche and is carved with geometrical patterns at different levels of the niche. A sculptural relief depicting Lakshminarayana – a form of Vishnu presented with his consort Lakshmi – is at the center surrounded by finely carved geometrical patterns. Note that Lakshminarayana is a combination of two names, Lakshmi and Narayana. Narayana is another name of Vishnu, and it means one who dwells on the water. In Sanskrit, nara means water and ayana means dwelling. According to Hindu mythology, Vishnu lives on the cosmic ocean.
Located on the eastern end of the Alhambra was a city bustling with shops, industrial houses, public baths, mosques, and residential quarters. Known as the Medina, this city served the daily needs of the palace and the people working there. Both nobility and the common people, including artisans and civil servants, lived in the residential quarters.
The main street of the city, known as Calle Real (Royal Street), ran from the east end of the Alhambra to the west side near Puerta del Vino (Wine Gate). A part of that trail still exists, and some sections have structures built during the Christian era.
Most of the original Nasrid structures in the Medina are now gone. The Christian kings who took over the Alhambra built structures over them. Later, Napoleon occupied the Alhambra from 1808 to 1812, and upon his defeat, his soldiers blasted many of these structures while retreating.
What remains now are the foundations of original structures and some restored buildings. The ruins of the Medina are on the eastern part of the Alhambra.
Here are some the monuments that existed along Calle Real:
Puerta del Vino (Wine Gate)
Puerta del Vino – East FacadePuerta del Vino – West Facade
Built during the reign of Muhammed III (1302 – 1309), the third ruler of the Nasrid dynasty, the Puerta del Vino (Wine Gate) was a gateway inside the walls of the Alhambra and served as the entrance to the city. Although it is one of the oldest buildings in the Alhambra, it underwent minimal restoration. So, it still retains its original characteristics.
The Wine Gate has two similar facades, east facing, and west-facing. The decorations on these were updated during different periods. The image on the left shows the east-facing facade, i.e., facing the Carlos V Palace, and the image on the right shows the west facade, i.e., facing the Alcazaba.
As you can see from the images, the door has a horseshoe-shaped point arch. As with the other decorations in the Alhambra, mathematics played a vital role in creating beautiful art in decorating the Wine Gate facade. The design of this facade is symmetrical about the vertical axis. The beam above the arch has several parallelogram-shaped bricks placed at regular intervals and slanted outwards, creating an illusion that this funnel-shaped structure is holding the balcony above the east facade.
Both the facades have twin windows on the upper floor. The friezes of Islamic calligraphy surround these windows on the eastern one. The rectangular frames decorated with arabesques and Islamic calligraphy are on either side of these windows.
The middle brick in the beam above the arch on the west facade has the figure of a key engraved into it. It is an Islamic symbol whose meaning is not fully understood. It could mean that the key is a symbol of power that opens and closes the gates of heaven. The panel above the beam has an inscription in Arabic, and above it is a balcony with twin windows
Archaeological site of the Abencerrajes’ Palace
Archaeological site of the Abencerrajes Palace
The image shows the archaeological site of the Abencerrajes’ Palace located in the upper area of the Alhambra. Historians believe that a beautiful palace with the characteristics of Nasrid-era architecture and art once stood in this location.
As mentioned before, Napoleon was responsible for the destruction of buildings in this site. Upon his defeat in 1812, he ordered his retreating troops to blow up the palace, including the Torre de Abencerrajes (Abencerrajes’ Tower).
The site was abandoned after the destruction. However, this changed in the 1930s when the restoration of the Alhambra started. After the discovery of the Nasrid-era artifacts in this area, archaeologists took a keen interest in this site and started excavating different parts of the palace. The significant excavations took place in 1957, 1990, and 1991. The ruins you see now are the results of these excavations and some restoration.
Rooms of the Abencerrajes’ Palace
Before the destruction, the palace was known as the Palacio de la Contaduría (Accounting Palace) because the Christian kings gave this area to the senior accountant of the Royal Council in 1501.
The Abencerrajes’ Palace was attached to the Alhambra wall on the south side and had multiple rooms on the eastern section. A courtyard with a pool existed next to these rooms and parallel to the wall. Calle Real, the main road of the Medina, ran in front of the palace.
Torre de los Abencerrajes (Abencerrajes’ Tower)
Ruins of the Abencerrajes Tower
The image shows the ruins of the Abencerrajes’ Tower.
As mentioned before, Napoleon was responsible for the destruction of this tower. The ruins you see are what remained after this destruction.
The tower is on the thick defensive wall that surrounds the Alhambra. As you can see from the image, there are steps to the adarve (the path on the flat top of the wall), which connects it to other towers on the wall.
Puerta de los Siete Suelos – Door of the Seven Floors Tower
Puerta de los Siete Suelos – Door of the Seven Floors Tower
Just like the Puerta de la Justicia, this used to be an external entrance to the Alhambra in the Nasrid period. However, the original gate was also destroyed by the retreating Napoleon’s troops in 1812. The structure shown in the image is the restored gate based on the pictures drawn by people, including Washington Irving. It is built on the south side of the wall that surrounds the Alhambra and is located east of the ruins of the Abencerrajes’ Palace.
The gate got its name because of the belief that it had seven floors below the ground. However, the excavation of this site led to the discovery of only two underground floors.
The gate also has an interesting legend associated with it. According to this legend, Boabdil, the last Nasrid ruler of Granada, left the Alhambra through this gate after his surrender to the Christian kings. Before surrendering, he made a deal with the Christian kings to close the gate forever.
Parador de San Francisco – A Former Nasrid Palace and Franciscan Monastery
Parador de San Francisco – Convent of San Francisco
Located near the eastern end of the Alhambra, this building used to be part of a Nasrid palace built in the 14th century. After the Christian kings took over the Alhambra, it was converted sometime in the 16th century into a Franciscan convent to fulfill a promise Queen Isabella made to build a shrine for St. Francis of Assisi, the founder of the Franciscan Orders. In the ensuing years, many Christian kings were interred in the chapel of the monastery.
After a considerable remodeling of the interiors, it was converted into a Parador, a luxury hotel run by the Government of Spain. The architecture and decoration of its interiors are now a mixture of Nasrid, Christian, and modern styles. The hotel is also called the Parador de Granada.
The image shows a beautifully decorated wall located next to the Puerta de la Justicia and below the artillery pieces in front of the Palacio Carlos V. You can see this on your way to the Alhambra.
Carlos V Pillar
As you can see, the wall has three distinct levels of carvings. The bottom level is about Granada. The middle and top levels are about Carlos V, Holy Roman Emperor, who commissioned the building of this wall.
Carved at the bottom level are the three masks, which, according to experts, represent the three rivers of Granada, Darro, Beiro, and Genil. Representing Granada is a pomegranate growing on a tree branch carved on each of the two pilasters in the middle. Note that Granada means pomegranate in Spanish.
At the center of the middle level is an inscription in Latin describing Carlos V. The semi-circular block on the top level has his coat of arms enclosed by a double-headed eagle, which represents the Hapsburg Empire. The four medallions carved on sides of this circular block have reliefs depicting scenes from Greek mythology.
Palacio Carlos V (Charles V Palace)
Palacio Carlos V (Charles V Palace) – South Facade
The Palacio Carlos V is one of the large buildings you see as you enter the Alhambra site. It is a square-shaped building with a circular court in the middle. The facades on the southern and western sides are ornate and have beautifully designed entrances. The northern and eastern walls are mostly unadorned because part of them are connected to the buildings of the Nasrid era. The image shows the south side facade.
Built in the 1500s, this Renaissance building was intended to be a summer palace for Carlos V (Charles V), Holy Roman Emperor, who was an ardent admirer of the Alhambra and wanted to be part of it, although he never got to live in it. He entrusted the job of building the palace to Pedro Machuca, a renowned architect of his time, who also remodeled and renovated part of the Nasrid Palaces. He was a brilliant architect well ahead of his time, and some of the concepts and designs he used became popular later, including the circular court at the center of the building.
Read More: Palacios Nazaríes – Nasrid Palaces – A Shining Example of Moorish Art and Architecture
Palacio Carlos V – Charles V Palace
Although the construction of this palace began in 1527, it was not completed for many reasons, including financial and political, and fell into disrepair because of long neglect. Even the roof of the partially built structure came off, and the palace remained roofless for a long time. It underwent a major renovation, which included adding a new roof, and was eventually completed in 1957. The building now houses the Museo de Bellas Artes, a museum of fine arts.
The image shows a view of the palace as seen from the Torre del Cubo of Alcazaba. It shows the west-facing facade and northern wall connected to the Nasrid Palaces. The white-painted structure abutting the wall is the southern gallery of the Court of the Myrtles.
Palacio Carlos V (Charles V Palace) – Circular Court at the Center
As you can see from the image, many people are standing in line in front of the palace. They are the visitors waiting to enter the Nasrid Palaces. The entrance is along the northern wall of the Charles V Palace.
Iglesia de Santa María de la Alhambra – Church of St. Mary of the Alhambra
Church of Santa Maria – A view from the Gardens of the Partal
The image shows a view of the Iglesia de Santa María de la Alhambra (Church of St. Mary of the Alhambra) as seen from the Gardens of the Partal.
Located next to the Palacio Carlos V on the the Alhambra alta (i.e., upper area), the Church of Santa Maria is an iconic landmark of the Alhambra of the Christian era.
A grand mosque built by the Nasrids in the 1300s existed in this
site. Sultans used this mosque for daily prayer, and because of that, it
was a place of many palace intrigues. It is believed that Yusuf I, the
seventh Nasrid king, was assassinated in this mosque.
Just after the Catholic monarchs took over the Alhambra,
the grand mosque was converted into a Christian chapel. Many years
later, it was decided to demolish the building and build a grand church
in its place. The building of the church began in 1581 with Juan de
Herrera being the architect. Because of the cost, his design was
simplified by Ambrosio De Vico, who completed it in 1618.
The Alhambra monuments are on top of Sabika Hill, and there are two pedestrian paths to the main entrance from the foot of this hill. The path explained here is via the Puerta de Las Granadas (Gate of the Pomegranates). If you are walking there from the city center, take Cuesta de Gomérez Street from Plaza Nueva to arrive at this gate.
Note that another entry point is via Cuesta del Rey Chico, but the entry via the Puerta de Las Granadas is more interesting because of the monuments along this path. The distance from Plaza Nueva to the Alhambra monuments via this gate is about 3/4 of a mile.
The image shows a site map of the Alhambra and Generalife placed near this gate.
The paved road from the gate to the main entrance goes uphill, and as you walk up, you encounter the Alhambra forest on both sides. After walking a few hundred feet from the gate, the roads fork into two; The right path goes to the Crimson Towers, the Manuel de Falla Auditorium, and the left path leads to the Alhambra. As you walk further, you arrive at the Washington Irving monument. A few feet from there, you climb the flight of steps to reach the Pillar of Carlos V. Then you go via the Puerta de la Justicia (Gate of Justice) to arrive at the Alhambra.
Once you are at the top, you can see monuments belonging to both the Nasrid and Christian eras. The Nasrid era monuments include Puerta del Vino (Wine Gate), Alcazaba, and Palacios Nazaríes (Nasrid Palaces). The Christian era monuments include Palacio de Carlos V (Charles V Palace) Santa Maria de Alhambra and Church of St. Mary of the Alhambra.
Monuments along the Pedestrian Path
As mentioned before, there are several interesting monuments along the pedestrian path to the Alhambra entrance. Here is a brief description of these monuments.
Puerta de Las Granadas (Gate of the Pomegranates)
Puerta de Las Granadas (Gate of the Pomegranates)
Puerta de Las Granadas (Gate of the Pomegranates) – Back View
The first monument you see is the Gate of the Pomegranates, and as mentioned, it is an entry point located at the foot of Sabika Hill. It is a Roman-style arched gate built in 1526 to commemorate the visit of Carlos V (1500 – 1558), Holy Roman Emperor, and also King of Spain, Germany, and Italy. The architect of this gate is Pedro Machuca, who also built the Palacio Carlos V (Charles V Palace), one of the famous Christian-era buildings at the Alhambra.
As you can see from the image, the door has a lintel and pediment. Situated above the lintel is a sculpture of a two-headed eagle covering the coat of arms of Carlos V, and on top of the pediment are the sculptures of three opened pomegranates, the reason why the gate got its name. This gate replaced the one existed from the Nasrid era, some remnants of which are visible on the right side, i.e., a small arch.
The image on the right side shows the back facade of this gate. Embedded on the wall on the left side is a small tombstone etched with words that pays touching tribute to Alhamar, the founder of the Alhambra. It was installed in 1932 as part of the ceremonies commemorating the 7th centenary of the founding of the Emirate of Granada. The author of these beautiful poetic words is Francisco Villaespesa Martín (1877 – 1936), a famous Spanish poet and writer with close ties to Granada.
Tombstone that pays tributes to Alahmar and glorifies the Alhambra
Here is a rough English translation of these poetic words written on the plaque: “To Alahmar, the most distinguished man of the house of NASAR, the founder of the Alhambra. Because you surpassed the limits of Time and space by making all the beauties of nature pale when by creating the wonders of this citadel to gird the glory and immortality of the divine temples of the distinguished and unique city, you receive the moving tribute from Granada and with it the admiration and respect of the world.
The cry of your banished children who, even in the solitude of the desert, in the light of the stars, dream of the paradise of your enchanted halls.
Do not fear the ravages of time or the fickleness of fortune, because your overflowing zeal was eternalized in the marvel of these enclosures.
Even though the shadows of these walls may not last, their memory, which will always be everlasting, will remain as the only possible refuge of dreams and art.
And then the last nightingale, who flutters over the world, will make its nest and sing chants of farewell amongst the glorious ruins of the Alhamabra.”
Statue of Washington Irving
The next important monument you see on the path is the bronze statue of Washington Irving (1783–1859), a celebrated American author and a great admirer of the Alhambra.
Statue of Washington Irving
He visited Granada in 1829 and lived on the premises of the Nasrid Palaces located inside the Alhambra. He authored one of his famous books, Tales of the Alhambra, which is a collection of essays, stories, and sketches related to the Alhambra, some of which were inspired by the legends and stories passed down through generations of families residing in Granada. Beside being an author, he was an American ambassador to Spain from 1842 to 1846.
This statue was installed in 2009 to commemorate Washington Irving’s 150th death anniversary. The plaque at the bottom says “Washington Irving 1783 – 1859” and the pedestal says “Hijo de la Alhambra” (Son of the Alhambra) as he wanted to call himself. The Alhambra forest is behind the statue. The following is one of his famous quotes on the Alhambra:
“Perhaps there never was a monument more characteristic of an age and people than the Alhambra; a rugged fortress without, a voluptuous palace within; war frowning from its battlements; poetry breathing throughout the fairy architecture of its halls.”
Carlos V Pillar
Carlos V Pillar
The image shows a beautifully decorated wall located next to the Puerta de la Justicia and below the artillery pieces in front of the Palacio Carlos. As you can see, the wall has three distinct levels of carvings. The bottom level is about Granada. The middle and top levels are about Carlos V, Holy Roman Emperor, who commissioned this wall.
Carved at the bottom level are the three masks, which, according to experts, represent the three rivers of Granada, Darro, Beiro, and Genil. Representing Granada is a pomegranate growing on a tree branch carved on each of the two pilasters in the middle. Note that Granada means pomegranate in Spanish.
At the center of the middle level is an inscription in Latin about Carlos V. The semi-circular block on the top level has his coat of arms enclosed by a double-headed eagle, which represents the Hapsburg Empire. The four medallions carved on sides of this circular block have reliefs depicting scenes from Greek mythology.
Puerta de la Justicia – Gate of Justice
Puerta de la Justicia (Gate of Justice)
Commissioned by Yusuf I (1333-1353), the seventh Nasrid ruler of the Emirate of Granada, and completed in 1348, the Gate of Justice is a tower built as an entrance to the Alhambra.
As you can see from the image, there are two doors, one behind the other. The outer door leads to the inner one, which is much smaller. Both of them have a horseshoe type of arches above the doors.
At the center of the circular frieze above the outer door is a marble figure of a hand inset into the frieze. The lintel of the inner door has an inscription written in Arabic. Above the inscription is a niche with the statue of the Virgin Mary with Infant Jesus, which is a duplicate of the original installed in 1501, which is currently on display at the Museo de Bellas Artes (Museum of Fine Arts) in the Palacio Carlos V – Charles V Palace.
Located on Cerro del Sol (Sun Hill), a hill adjoining the Alhambra, the Generalife is a complex consisting of beautiful gardens, orchards, and a palace used by the Nasrid kings as a leisure residence, especially during summer. Derived from the Arabic word Jannat al-‘Arīf, Generalife means an architect’s garden. Inspired by the Persian gardens of the medieval period, Muhammed II (1273 – 1302), the second king of the Nasrid dynasty, built the Generalife complex as his summer residence. Muhammed III (1302 – 1309), the second king, and Ismail I (1314- 1325), the fourth king, extended and improved the palaces and gardens.
The Generalife provides a panoramic view of the Alhambra and Granada area. Although the palaces in Generalife are not as ornate as the Nasrid Palaces of the Alhambra, they still retain the charm of Moorish art. The courtyards have pools with fountains and water canals.
The palaces and gardens underwent significant restorations in the 20th century. The walkways, which were built as part of these restorations, are paved with beautiful mosaics created with black and white pebbles. The black ones are from the River Genil, and the white ones are from the River Darro. It became a UNESCO World Heritage Site in 1984 along with the Alhambra and Albaicín district.
Visiting the Generalife
As mentioned before, the Generalife complex is on a hill next to the Alhambra, and separating them is a ravine, which has a bridge that provides access to the Generalife. It takes about an hour to visit the gardens and courtyards of the Generalife. You can combine the Alhambra visit with the Generalife because it is at a walkable distance.
There is a path that leads to the Generalife from the Alhambra. Once you visit the Nasrid Palaces, you come out via the Gardens of Partal, which has signs directing to the Paseo de las Torres (Tower’s walk). Follow these signs, and as you walk, you will see several Nasrid era towers. You then cross the bridge over the ravine and reach the Auditorium at the Generalife. A walkway leads to the lower gardens area, and you start the Generalife visit there.
At the center of the image is a pebbled walkway that leads to the Generalife Palace and the upper gardens. The Generalife complex has many similar walkways paved with beautiful mosaics created with black and white pebbles. The black ones are from the River Genil, and the white ones are from the River Darro. The walkways are a 20th-century creation built as part of the restoration of the Generalife.
The area on the right side of the walkway is an arable land used by
the Nasrids to grow vegetables and fruits. It serves the same purpose
even today. As you can see, the agricultural terrace on the right has
orchards and vegetable patches.
The area on the left side is used for decorative purposes and has beautifully-trimmed cypress trees. It is a delightful experience to walk under the arches of the cypress trees. See the image below. Although these gardens make a great impression with visitors, they are also a modern creation built as part of the renovation of the Generalife, and nobody is sure how they looked in the Nasrid era.
Cypress tree archesAn octagonal basin
Generalife Palace
The walkway from the lower gardens leads to the Generalife Palace, which has two important courts, which are:
Patio de la Acequia (Court of the Irrigation Channel
Patio de la Sultana (Sultana’s Court or Courtyard of the Cypress).
Patio de la Acequia – Court of the Irrigation Canal
The Patio de la Acequia is a rectangular court with pavilions on all four sides. The image below is captured from the northern pavilion. On the far end of the image is the southern pavilion with two floors. The pavilion on the right (i.e., west side) is ornate and provides a beautiful view of the Generalife gardens and the Alhambra.
Patio de la Acequia (Court of the Irrigation Canal)
As the name suggests, the court has an irrigation canal, which runs
through its center. Built in the Nasrid period, it provided water for
the exotic plants in the court. On its sides are the narrow terraces
with water sprouts spurting water into the canal, creating a beautiful
display of semi oval-shaped water jets crossing each other.
The hedges of myrtle bushes run along the outer edges of the terraces. The beds used for cultivating flower plants, bushes, and fruit trees are on both sides of the canal. The Nasrids imported some of these plants, including a variety of rose bushes and jasmine creepers, from different parts of the world, choosing them for the colorfulness and fragrance of their flowers. The plants with their colorful flowers and a pleasant aroma created a delightful atmosphere in the court.
A chamber on the west-side pavilion A ceiling of the west-side pavilion
The image on the left shows highly ornate pavilion with large arched windows surrounded by Islamic calligraphy. As you can see, they provide a beautiful view of the gardens.
The image on the right shows the sunken wooden ceiling of a pavilion on the west side of the Patio de la Acequia. This is a great example of Mudéjar art, a style of decoration originated in Moorish Spain and is a fusion of Islamic and Christian art. There are many rooms in Nasrid Palaces and Generalife with ceilings decorated with Mudéjar art.
Patio de la Sultana – Sultana’s Court
Patio de la Sultana (Sultana’s Court)
Pond with a fountain in the Patio de la Sultana (Sultana’s Court)
The image shows the Patio de la Sultana (Sultana’s Court) located adjacent to the Patio de la Acequia (Court of the Irrigation Canal).
The court has a water-filled ditch surrounding the rectangular platform. At the center of this platform is a square pond in the middle flanked by two garden patches, each surrounded by a hedge of myrtle bushes. There is a basin with a fountain at the center of the pond. As you can see from the image, several water sprouts on the platform and the corridors are spurting water, creating semi oval-shaped water jets.
Cypress Tree and the Legend of the Abencerrajes
Cypress tree of the Abencerrajes legend standing in the Patio de la Sultana
Standing on the eastern side of the court is the dried-up tree trunk of a cypress tree, which experts believe was alive during the Nasrid period and lived for 600 years. A popular legend is centered around this cypress tree, and because of this legend the court is also known as the Patio del Ciprés de la Sultana (Sultana’s Cypress Tree Court).
As you can see from the image, there is also a small plaque next to the tree trunk. The Spanish text in the plaque refers to this cypress tree to describe the story that is central to the Legend of the Abencerrajes.
The plaque says :
Cuenta la leyenda que este ciprés de la sultana fue testigo de la amorios de un Caballero Abenceraje y la esposa de Boabdil
Here is a rough translation:
Legend has it that this Cypress Tree of the Sultana was a witness to the love affair of an Abencerraje Knight and Boabdil’s wife.
According to the legend, Moryama (Maryam bint Ibrahim al-’Attarthe), the wife of Muhammad XII (known as Boabdil, the last Sultan of Granada), had an affair with a knight belonging to the Abencerrajes, a warrior clan fiercely loyal to the Nasrids. The lovers used to meet underneath the shade of this cypress tree in the moonlight.
Plaque describing the Abencerrajes legend in the Patio de la Sultana (Sultana’s Court)
A courtier eventually discovered their secret and revealed it to the Nasrids. Enraged by the affair, Boabdil ordered the killing of the members of the Abencerrajes clan. He invited them for a meeting at his palace. The unsuspecting members accepted the invitation and gathered in a hall. While they were waiting for the king, his guards closed the doors of the hall and assassinated as many as 30 of them.
Although there is no historical or archaeological evidence to prove that this event ever took place, the fascinating story of romance and the palace intrigue has caught the imagination of people and helped to keep the mystique of the Alhambra alive.
A staircase on the south end of the Patio de la Sultana leads to the upper gardens of the Generalife. The image shows the arched gateway above that staircase. As you can see, there are two lion statues atop this gateway.
Besides numerous gardens, the upper level of the Generalife consists of the Escalera del Agua (Water Stairway), Mirador Romántico (Romantic Viewpoint), and Casa de los Amigos (House of Friends).
The image shows part of the stairway know as the Escalera del Agua (Water Stairway) situated in the upper gardens of the Generalife.
The stairway consists of three levels of steps. At the end of each level is a circular-shaped terrace with a fountain at its center. Built atop the wall on each side of the stairway is a narrow canal with the water flowing down. The shade from the trees in the surrounding gardens and the water running in the canals keep the place cooler and make the uphill walk pleasant for visitors.
Mirador Romántico – Romantic Viewpoint
In the Nasrid era, this stairway led to a small oratario (oratory or prayer hall) that existed at the upper end of the stairway, which happens to be the highest point of the Generalife. The royals used this stairway to climb up to the oratario to pray and then relax watching the panoramic view of the surrounding areas.
A small observatory known as the Mirador Romántico (Romantic Viewpoint), which is shown in the image, replaced the oratory in the 19th century. The structure does not fit well with the rest of the buildings in the Generalife because it is not a Nasrid-era building. Built in 1836 by Don Jaime Traversa, the administrator of the Generalife at that time, Mirador Romántico is a neo-gothic style building.
Located strategically on the western end of Sabika Hill, the Alcazaba is a fortress used by the Nasrid rulers to defend the Alhambra, the center of power of the Emirate of Granada. Because of its hilltop location, many kingdoms that came before them built fortifications in this site. Experts believe that even a Roman fortification existed here.
Realizing the importance of the strategic location, Mohammed I (1238–1273), the founder of the Nasrid dynasty, decided to build a fortress over a structure that already existed since 889 CE. He made it his residence and oversaw its construction. The version of the fortress he built consisted of three towers, Torre Quebrada (Broken Tower), Torre del Homenaje (Tower of Tribute), and Torre de la Vela (Tower of Vigil), all of which are still standing.
After the fall of the Nasrids, the Christian kingdoms used it for defensive purposes. Later, like all other structures in the Alhambra, it fell into disrepair after long neglect. The major restoration work started in the 19th century and continued until the early 20th century.
Entrance and Plaza de Los Aljibes
The structure shown in the image is the east-facing facade of the wall on the east side. This wall has a small door in the middle used by visitors to enter the fortress. Above the entrance is Torre Quebrada, also known as the Broken Tower, and to its right is the Torre del Homenaje, also known as the Keep. As mentioned before, these two are the original towers of the Alcazaba.
The Alcazaba Entrance and Plaza de Los Aljibes
The open space in front of the eastern wall is known as the Plaza de Los Aljibes (Plaza of the Cisterns) because of the cisterns built there by the Christian kings soon after they took over the Alhambra. When they were no longer useful, public space was created by filling them up and planting some trees and bushes. As you can see from the image, the open space in front of the Alcazaba wall is full of people who are sitting and relaxing.
The Plaza de Los Aljibes has also been a venue for numerous cultural events. The image below shows a plaque written in Spanish embedded into the exterior of the eastern rampart. It lists the important events that took place in the Plaza de Los Aljibes.
A plaque embedded into the Alcazaba wall
Here is the list: 1922 – Concurso de Cante Jondo – The Cante Jondo contest for Flamenco singers 1927 – Autos Sacramentales – These are religious dramas unique to Spain that are played during the feast of Corpus Christi 1952 – Primer Festival de Música y Danza – The First Music and Dance Festival 1976 – XXV Aniversarios del Festival – 25th Anniversary of the Festival held in 1952
The plaque was installed in 1976 to commemorate the 25th Anniversary of the first Music and Dance Festival held in 1952.
Towers on the Eastern Wall
The eastern part of the Alcazaba
The image shows a view of the west-facing facade of the eastern wall as seen from the Torre del Vela. As you can see from the image, the Torre Quebrada is in the middle and Torre del Homenaje to its left. The small semi-circular structure next to the Torre del Homenaje is the Torre del Cubo.
The area in front of the eastern wall is called the Plaza de las Armas (which is explained in the next section). Behind the eastern wall is the Palacio Carlos V (Charles V Palace) and to its right is the Iglesia de Santa María de la Alhambra (Church of St. Mary of the Alhambra). Just below the hill on the far end are the buildings belonging to the Generalife.
Torre del Homenaje
As you can see from the image, Torre del Homenaje is a robust square-shaped tower with battlements (parapet with openings at regular intervals) and merlons (construction that projects upwards) on all four sides of its terrace. This strategically located tower was used for both defensive and offensive purposes. The crenels (space between the merlons) were used for mounting the guns and embrasures (vertical slits) below the battlements used for observation.
Because of its location, Torre del Homenaje provides a vantage point for the surveillance of the Alhambra and the surrounding areas. Mohammed I lived there in the beginning and oversaw the construction of the Alcazaba.
Plaza de las Armas – The Garrison of Alcazaba
The Plaza de las Armas – The Garrison of Alcazaba
Although Plaza de las Armas means Plaza of the Weapons, it actually refers to an interior area of the fortress consisting of military quarters and storage facilities for weapons and other supplies needed for the defense of the Alhambra.
The ruins consisting of the foundation walls that you see in the image belonged to the Barrio Castrense, which is a Nasrid-era residential area consisting of houses occupied by the military commanders and soldiers stationed in the Alcazaba. As you can see, each house has an entrance, a central hall and other rooms, and a lavatory. One of the houses is larger than the others, and it most-likely belonged to the head of the garrison. It also has a small pool at the center. It is believed that Mohammed I, the founder of the Nasrid dynasty, moved his residence from the Torre del Homanaje to this house after its construction.
Torre de la Vela – The Tower of Vigil
The Torre de la Vela and Plaza de las Armas
Located on the western part of the Alcazaba, Torre de la Vela, also known as the Watch Tower, is an iconic structure that provides a 360-degree panoramic view of the surrounding areas. As mentioned before, it is one of the three towers built by Mohammed I.
With four floors and a terrace, it is the tallest tower in the Alcazaba. It also has three underground floors and a dungeon. The iconic bell tower on the terrace was not part of the original construction. The Christian kings, who took over the Alhambra, installed the bell to warn residents living in the surrounding areas of attacks and other emergencies. The tower got its name because of this bell. Velar in Spanish means to keep vigil. So, the Torre de la Vela is a tower that keeps vigil.
The Torre de la Vela terrace with a bell and flags
The tower sustained severe damages due to a variety of catastrophic events, including an explosion and earthquake, occurred during the post Nasrid period. It included the ripping off of the original battlements and breaching of part of the tower.
The image below shows a spectacular view of the snow-clad Sierra Nevada Mountains, as seen from the terrace of the Torre de la Vela. In Spanish, Sierra means mountain range, and Nevada means snowfall. As the name suggests, a lot of snow falls in these mountains. Because of the abundance of snow, they have become a popular tourist attraction, especially with skiing enthusiasts. .
Sierra Nevada Mountains – A view from the Torre de la Vela
